I was at this run of shows. I remember (or at least I think I remember) standing at my seat in the orchestra watching the balcony bobbing up and down from all the people dancing to "Sugar Magnolia" with the energy of a bunch of elementary school kids at 3pm on the last day of school. I wasn't sure if I was really seeing this or if it was a result of the orange barrel sunshine my friends and I had taken.
At this point I looked over at my friend sitting next to me to point out the vibration of the balcony. He was sitting there looking totally dazed and confused. I asked him, "Warren, what's wrong?" His reply, "I don't understand why everyone is taller than me." I answered, "Warren, STAND UP!". He did and his face broke out into a huge smile.
Sometimes we need a guide on our best trips!

3rd show in Jersey City in two months after two one-offs, in nearby Roosevelt Stadium, and the start of a 3-day run. This show is known for having a spectacular He's Gone. Though elsewhere it's an average show (especially for Sep72), it has the unfortunate position of being between two all-time greats, 9/17 & 9/27 (let alone 9/21 & 9/28), so unless you're a total '72 freak you'll want to absorb those shows first. The next night is one of the best ever, and re-uses 14 songs - all of which, except for Casey Jones, are played better. Some lists show that the 2nd set opened with Bertha, but AUD-patched sources (there's a composite that circs) don't have it, so if it's neither on the AUD nor the SBDs, do we know for sure? Maybe Brontis will come back and cough up the master gen AUD.
First Set. The building lifts off at Me & My Uncle, a warm-up for a remarkable He's Gone. Though some of it is out of tune, the end jam is incredible. The next night's is as-great, but this is a bit different. They just really had this one, in Fall '72. Mexicali is the equal of the next night - just as crazy. Even an out-of-tune Jer doesn't diminish the wizardry of Deal. The rest of the set is average '72 and gets pretty downtempo about Sugaree.
Second Set. A Playin' to start but yeesh, they can't stay in tune this night. Still, it soon takes off and becomes a monster jam. This is the last-ever You Win Again. It's interesting that people knew that Pig was sick - a "Get Well" banner was hung from the balcony. If you're a musician, the out-of-tune guitars for El Paso will be a deal-breaker. A lyrics flub for Half-Step is caught and smoothed. Greatest Story Ever Told starts to get in shape heading to teh solo - and then Donna wails over the top. Tomorrow is Forever is the 2nd one of 10 - all but one played in late '72 (to appease Donna; before it was kicked to the curb). Truckin' becomes a major jam (if you get the uncut version), some of it good. The Other One-ish starts @21:36, not by a Phil rumble but by Jer, who doesn't ever gain a complete collusion. Instead, it devolves to a unique Phil jam. A big journey worth taking at least once. It's All Over Now, Baby Blue is only the 2nd of '72, but the last 'til '74. Very briefly, Bobby vamps a tuning of 26 Miles sans lyrics, picking up Phil, then Billy, Keith & Jer - though it's enough for the trainspotters to spot their pants. The Hawaiian-influenced once-standard (by the Four Preps) references the knots to Catalina. Johnny B Goode leaves 'em happy.
1st Set:  C+
2nd Set: C
Overall = 3 Stars
Highlights:
Me & My Uncle - many good ones in '72, but still
He's Gone - end jam incredible
Mexicali Blues - crazy-good
Deal - even an out-of-tune Jer can't tamp
Run:
9/26/72 - C
9/27/72 - A+
9/28/72 - B+
SOURCES: The SBDs all have about the same quality. The weir.19198 has all of the composite that circs (the other SBDs have a few cuts) except for a cut in Cumberland and an edited (by 7min) version of Truckin'>Other One Jam. The complete versions of those are on the powell-ladner.25281 patch.

can someone puh-lease invent a time machine - so everyone here on the archive page for these three nights at the Stanley Theater can go back and see them - pretty puh-lease ….. we'll be your best friend !!!!!!!!

Has Mr. Garcia been playing the pedal steel at this time - yes I think so. The lead he attempts at around the 9:40 mark is where the sick in the title of the review comes from. He is absolutely shooting for the stars here - thank you for trying - so many wouldn't have bothered. How the rest of the band keeps right up with the barrage of lead guitar is awesome. The sound quality is fabulous throughout - you can't record a studio album with this sound - why not?. Can Mr. Weir play rhythm guitar? Yes he can. Listen to another great recording on 9/28 to see how much improv is actually going on here. Is this Gerry using a strat like Vanetta? I am not a dancer but one has to move to this one. Piano is way down in the mix but you certainly get the sense of the influence on the overall groove - listen to Bird Song. Have to mention drums and bass are standout throughout.

As for the show- my favorite of the run- for the He's Gone alone it would be- but there is so much that is good here. I am happy to be a bastard when it leads to good listening!

Anyway, i was pointed to this show by LazarusLiam, who stated that this is the best He's Gone ever, and dare i say it, he just may be right, that bastard! In fact, it's exquisite, and kudos to him for the tip in the right direction. And hey, the rest of the show certainly ain't no slacker either, the Birdsong is just splendid, and as others have pointed out, the Baby Blue too. As for '72 being the last great year for the GD, well now, that's all subjective really, and one would be remiss not to delve into the delectable delights of '81-'82! However, whatever keeps ya happy ...

I was at all three Stanleys. Thursday was best; but Tuesday (this night) had some superlative moments. The entire run was great, but if I was to release one as a Dick's Pick, Wed (9-27) would be my last choice.
The Baby Blue is unrivaled. It is a crime that this was never put out commercially. It is not only a technically perfect reading-- unusual as that is-- it stands alone as the best recording of this song if one exempts the flawed but incredibly passionate version from 11-8-70.
Here's what you don't know about the Truckin' -> Other One:
The highlight is missing from the soundboard (probably a tape change)! Because the jam (as exists on these tapes) is 'undifferentiated' for several minutes, you would not know that there are several minutes missing.
What is missing is a bass solo leading into the traditional Other One bass-intro and jam.
... and unfortuntely, it is the very best part of the whole jam!
I recorded the shows and have audience masters. Perhaps at some point it'll find it's way to archive.org and someone can fill in the gap.
There are several other high points to this show. For my money, besides the best reading of Baby Blue that I've ever heard, we have the best reading (IMO) of Tomorrow is Forever. Don't laugh -- this is terrific here, even if you don't care for Donna.
Also, a splendid version of Mississippi Halfstep.
This show was surpassed by 9-28 -- one of the best post Europe '72 shows -- but it still deserves 5 (.. or , OK, maybe 4) stars. Sound quality is excellent. Don't hesitate...
'72 was the last great year of the GRateful Dead.

Imagine my surprise as I listened to this little gem. Very nice show with a lot of good energy. Not a five but a four anyway.
good sound - nice and clear.
In particular listen to He's Gone, Playin', Greatest Story is tight and well played and the before mentioned Truckin -- other one --baby blue. Very nice.

Im surprised no other dead crows have already wrote a review on this show. I have had it on cd for a while now, but my third disc was damaged. Thank you archive!
CHECK OUT THE JAMS FROM TRUCKIN THROUGH THE OTHER ONE, INTO A SPUN LITTLE SPACE UNTIL FINALLY JERRY STRUMS AND HUMS HIS WAY THROUGH IT'S ALL OVER NOW BABY BLUE (Jerry's voice and guitar are as crisp and clear as ever for this entire song).
This is not a five star show as a whole, but I gave it five because of the truckin to baby blue sequence.